By Harold Bloom
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He raised the whole enumeration of celestial bodies, and seemed to forget it with the dawn of a new day, as if also in his memory dusk dimmed the stars. 9 If in other versions of the myth the birth of reason, morals or politics is at stake, what we have in Los reyes is the violent birth of writing. ” By killing the Minotaur, Theseus attempts to replace the perishable sound of individual words with the linear, durable cogency of discourse, a cogency predicated not on the stems of words but on their declensions, on the particles that link them in a structure whose mode of representation would not be sonorous but spatial—writing.
NOTES 1. Carlos Fuentes, “A Demanding Novel,” Commentary (New York), October 1966, pp. 142–43. 2. Donald Keene, “Moving Snapshots,” The New York Times Book Review, 10 April 1966, p. 1. 3. Graciela de Sola, Julio Cortázar y el hombre nuevo, Buenos Aires, Sudamericana, 1968, p. 9 (my translation). 4. Luis Harss, Barbara Dohmann, Into the Mainstream, New York, Harper & Row, 1967, pp. 214–15. 24 Jaime Alazraki 5. Julio Denís (Julio Cortázar), “Rimbaud,” Huella (Buenos Aires), no. 2 (July 1941); Quoted by G.
Xxvii. Cortázar has of course followed this same method of composition in the “dispensable” chapters of Hopscotch, as well as in Libro de Manuel. ” 17. For further commentary on The Birth of Tragedy and “The Pursuer” see Djelal Kadir, “A Mythical Re-enactment: Cortázar’s El perseguidor,” Latin American Literary Review, 2 (1973), pp. 63–73. STEVEN BOLDY Libro de Manuel INTRODUCTION Socialism and literature: the debate A fter the complex, subtle, and ultimately minority novels Rayuela and 62, we are faced with a very different sort of literature in Libro de Manuel, published in 1973.